the mother movie review in tamil

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மகளுக்காக எதையும் செய்யும் தாய்..! 'THE MOTHER' படம் எப்படி இருக்கு?

மேலும் செய்திகள்

அதிகம் வாசிக்கப்பட்டவை.

The “movie star,” that mysterious creature whose blinding charisma pulls everyone into its irresistible orbit, is becoming an endangered species. That makes Jennifer Lopez —a movie star par excellence —the onscreen equivalent of a majestic snow leopard. Lopez can easily carry a film on her own, and her latest project, “The Mother,” is lucky to have her. 

That’s not to say that the latest film from director Niki Caro (“Mulan”) and a screenwriting team led by “Underground” creator Misha Green would totally sink without its star. Like most Netflix movies, “The Mother” would be a perfectly serviceable thing to have on in the background while you tidied the living room or answered emails on your phone. The spy-movie setup is generic enough to follow while doing something else, and the villains’ motivations are only as specific as the plot needs them to be, which is to say, not very specific at all. 

“The Mother” was screened for critics in theaters, where the immersive setup makes the paint-by-numbers portions of the plot really stick out. A handful of odd stylistic choices also attract attention in this format: A recurring visual motif of wide-angle shots with blurred edges; odd, jumpy edits seem to compensate for a lack of coverage on set. 

But the big screen also provides a bigger canvas for the film’s picturesque locations, like wild Tlingit Bay, Alaska, the sweltering streets of Havana—and, uh, Cincinnati, Ohio. (Every spy needs a place to hide out.) More importantly, it’s also more real estate for Lopez’s face.

For the most part, that billion-dollar mug is set into an expression of grim determination in “The Mother,” which opens with an unnamed FBI informant (Lopez) and her handler Cruise ( Omari Hardwick ) barely escaping from a bloody attack on an FBI safe house in suburban Indiana. The informant soon becomes The Mother, as the pregnant ex-spy gives birth to a baby girl while in the hospital recovering from her wounds. She has two options: Either escape with the infant and stay on the run forever or sign over her parental rights so her daughter can have a normal life. She chooses the latter.

She never signs away her emotional commitment, however. And she continues to watch expectantly from the sidelines, waiting for the day when her past will also shape young Zoe’s ( Lucy Paez ) life. And indeed, just after Zoe’s 12th birthday, The Mother’s friend and confidant, Jons ( Paul Raci ), comes by her isolated Alaskan lakeside cabin with a message: Zoe is in danger. It’s go time. 

As with her celebrated turn as a pole dancer in “ Hustlers ,” much of the excitement in “The Mother” is watching Lopez in motion. She swings a knife in hand-to-hand combat. She jumps across the roofs of cars in an urban foot chase. Even the subtle movement of loading and cocking a sniper rifle while lying belly-down on a rooftop is thrilling when she does it. Lopez translates her background as a dancer into gritty action choreography with the ease of a seasoned professional. 

The film shifts gears about halfway in, as Zoe and her mother retreat to Mom’s cabin for a hybrid bonding session and wilderness survival course leading up to the fiery action finale. “The Mother” is arguably too long at 115 minutes, but it’s difficult to say which scenes, in particular, could have been cut; in its quieter moments, both Lopez and her young co-star Paez give convincing performances as the gruff mentor and pouty student.

If anything, the film could have used more of these moments, which feel real and tangible compared to the cardboard cut-out bad guys played by Joseph Fiennes and Gael Garcia Bernal. Either of these men, we’re told, could be Zoe’s father, and it’s their obsession with The Mother that drives the rest of the narrative. Get in line, fellas. 

On Netflix now.

Katie Rife is a freelance writer and critic based in Chicago with a speciality in genre cinema. She worked as the News Editor of  The A.V. Club  from 2014-2019, and as Senior Editor of that site from 2019-2022. She currently writes about film for outlets like  Vulture, Rolling Stone, Indiewire, Polygon , and  RogerEbert.com.

• Jennifer Lopez as Mother
• Joseph Fiennes as Adrian
• Omari Hardwick as Cruise
• Gael García Bernal as Hector
• Paul Raci as Jons
• Lucy Paez as Zoe
• Andrea Berloff
• Misha Green
• Peter Craig

Cinematographer

• Ben Seresin
• David Coulson
• Germaine Franco

Writer (story)

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The Mother Reviews

Niki Caro’s tale of an assassin coming out of retirement to keep her daughter out of the crosshairs of some nasty people is the best kind of lean, mean fighting machine

Full Review | Aug 27, 2023

Jennifer Lopez makes, I think, a pretty good action star... This is sort of a generic action-flick that you may watch and forget about it about three minutes after seeing it.

Full Review | Original Score: 5.5/10 | Jul 24, 2023

Lopez is fit enough to handle the action scenes, but she just can’t sell the ruthlessness of the character. Apparently, it took no less than three writers to come up with this clichéd drivel.

Full Review | Original Score: 2.5/5 | Jul 6, 2023

An exceptionally strong, emotionally-driven action-thriller...Directed at a cracking pace and with exceptional action-movie instincts by Niki Caro (Whale Rider; Mulan) [it's] a way-above-average thriller, with J.Lo at her finest.

Full Review | Original Score: 3.5/5 | Jun 3, 2023

Maybe it is the repetitive middle or the structure of the movie, but it feels like it could have been paced more quickly and amped up the energy a little bit. I enjoyed this and would not be opposed to seeing Jennifer Lopez take on more roles like this.

Full Review | Original Score: 7/10 | Jun 2, 2023

The Mother boasts an impressively weighty emotional core that ensures it hits hard when it needs to.

Full Review | Original Score: 3/5 | Jun 1, 2023

With way too many flaws, a predictable plot, and generic and poorly developed villains, The Mother is an emotionless story and a waste of an action film. Unless you're a huge fan of J-Lo, I'd highly recommend skipping this one.

Full Review | May 26, 2023

The utterly predictable script suffers from a total lack of character development; the execution is ludicrous since JLo's hair and makeup are always flawless, perhaps because her expressionless face looks perpetually frozen.

Full Review | Original Score: 4/10 | May 26, 2023

[This] over-familiar actioner is forgettable.

Full Review | Original Score: 2/5 | May 24, 2023

What’s really depressing is the name behind the camera. “The Mother” was directed by Niki Caro, whose earliest efforts (Whale Rider, North Country) suggested a major talent in humanist cinema.

Full Review | Original Score: C- | May 24, 2023

The no-nonsense Lopez holds the standard issue together and the action, as directed by Niki Caro, clicks by with the rapid-fire confidence of Lopez’s mom on the trigger.

Full Review | Original Score: 2.5/4 | May 24, 2023

The best modern iterations of this kind of movie are The Long Kiss Goodnight and Aliens. I wonder if my overall fatigue with the genre isn't a product of my searching for those highs again in the intervening, largely disappointing decades.

Full Review | Original Score: 2/4 | May 24, 2023

...a decidedly erratic piece of work that fares best in its exciting, action-packed opening stretch...

Full Review | Original Score: 2/4 | May 23, 2023

But even her fierce prowess -- and unfailing good looks while fighting, chasing, and slaughtering -- can't quite save The Mother from feeling like an amalgam of existing action films.

Full Review | May 23, 2023

The Mother nearly works but there are gaps in the story, as though long sequences are missing, making for a movie that is as emotionally distant as its lead.

Full Review | May 22, 2023

This forgettable action thriller is thoroughly derivative.

Full Review | Original Score: 1/4 | May 22, 2023

A textbook example of a star vehicle, The Mother is competently executed and intermittently engaging, but is elevated only by Lopez’s presence.

Full Review | Original Score: 3/5 | May 22, 2023

Lopez has more than earned the right to be the star, to put great men in supporting roles, and tell a story that unapologetically centers her.

Full Review | May 21, 2023

Despite well-choreographed action and a gritty performance from Jennifer Lopez, The Mother is not the Mother’s Day vehicle Netflix had hoped it would be.

Full Review | May 20, 2023

Lopez easily has the goods to do a late career segue into action hero mode, but would appear to need a new agent and/or manager to help arrest the piling-up of bad movie vehicles that waste her prodigious talent.

Full Review | Original Score: 2.5/5 | May 20, 2023

The Mother (2003)

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‘Mother Mother’ Review: A Slow Burn Somali Drama Defies Expectations with a Complex Study of Familial Ties

Beandrea july.

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In the first sequence of “ Mother Mother ” a herd of camels cry out in the dark. Their guttural sounds are their own kind of haunting music as we are drawn into the world of two camel herders in rural Somalia : widow and force-of-nature Qalifo and loyal only son Asa (newcomers Maan Youssouf Ahmed and Elmi Rashid Elmi). 

Shot entirely on location in Kenya and the autonomously-run Somali region of Puntland, Warsame’s collaboration with “City of God” and “The Constant Gardener” (also shot in Kenya) cinematographer César Charlone is a get that, mostly, elevates the film. Although at times the visuals distract more than they reveal. On the whole “Mother Mother” adds up to a thoughtfully rendered and quietly assertive debut that endears us to a protagonist more often seen only in the background and now occupying its center. 

I’ll be honest: I wasn’t initially excited to screen “Mother Mother.” The still photo representing the movie with its deep browns and the mixture of longing and grief on the protagonist’s face are compelling to be sure but also made me wonder: is this just more “poverty porn” about the African continent, another “tradition versus modernity” themed story that’s been done to death? Warsame’s description of the film as being “about the Somali mother…when life is tough, they just get tougher” when introducing the film at TIFF also worried me: is this another one-dimensional story about strong women made by a man?

One senses right away the tensions simmering between a mother and son who rely heavily upon one another in their tight corner of the world. The first third of the film is a slow burn where we’re meant to arrive and immerse ourselves in this pastoral terrain. There’s a vérité quality present as we watch them tend to repetitive and physically demanding work of tending to the camels and all the rudimentary tasks required to take care of a property where no other houses are anywhere in sight. Charlone shoots primarily with handheld, emblematic of the documentary style that has come to be associated with his aesthetic. With a steady stream of extreme close ups that punch in and in, the visuals come at you more than they reveal themselves to you. Wide shots are intercut with tight overexposed close ups where the actor is in profile and the sandy colored earth around them is blown out to white. The back and forth feels distracting rather than revealing at times, a showy move that feels out of step with the overall mise-en-scene. And once Asad’s trajectory takes a dark turn, Ahmed’s performance as Qalifo starts to feel less nuanced and more one note. We search her face for deeper, or at least more varied expression that matches the poignant trajectory of the story.

The most fascinating question “Mother Mother” raises has to do with the meaning of justice. It mines the civic and cultural traditions of the Puntland region of northeastern Somalia to offer up a version of restorative justice. Puntland is self-governing with its own government, judicial system, and policing that operates autonomously while still being part of Somalia’s republic. The particular conception of justice and enforcement of its customs in the region is one where communities make collaborative decisions empowering individuals to come up with less than obvious consequences for unfortunately all too commonplace crimes like homicide. Qalifo’s creative solution in the case of her son becomes a regional cause célèbre that goes viral in the U.S. and Somalia eventually getting her an invitation to meet with the president of Somalia. Warsame intentionally leaves room for interpretation in terms of where to lay blame for the crime committed against her son, resisting the easy pointing of fingers, and this choice resonates in the wake of our current cultural reconsideration of policing and incarceration today. 

“Mother, Mother” premiered at the 2024 Toronto International Film Festival. It is currently seeking U.S. distribution.

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‘Varisu’ movie review: Vijay returns to his throwback ‘90s self in this familiar emotional entertainer

Directed by vamshi paidipally, ‘varisu’ exploits vijay’s humourous and emotional facets while exploring an all-familiar tale.

Updated - January 11, 2023 09:28 am IST

Published - January 11, 2023 07:39 am IST

Vijay in Tamil film ‘Varisu’

We’ve seen numerous ‘ amma sentiment’ films in Tamil cinema. And some ‘ appa sentiment' ones too.

Varisu , Vijay’s latest outing at the box office, not only puts together these two aspects that Tamil cinema has milked for many years, but also adds another dimension: sentiment among brothers. With so much material about a family that has myriad problems between its members, Varisu resembles the popcorn tub that has seen many rounds of flavoured seasonings.

Bland popcorn in the movies isn’t exciting anymore, and that seems to be the case with on-screen proceedings as well. Vijay has certainly experimented with genres in his last few films – Bigil was a sports drama, and Beast was about people stuck inside a mall – but this time, with Varisu , he goes back to a formula that has worked well for him in the past: family.

Remember Vijay’s family in Minsara Kanna (1999) , a group of rich people masquerading to be poor to unite two people? In Varisu , they are rich – and very rich at that. The house they live in, which we see a few minutes into the film, is among the most lavish residences you’d have ever seen in Tamil cinema. The characters inside talk business and deal in crores, chief among them being Rajendaran (Sarath Kumar) whose business rival is Jayaprakash (Prakash Raj). Rajendaran proudly flaunts his two sons – played by Srikanth and Shaam – but is reticent about talking about Vijay, his youngest son. Why’s that? Will Vijay agree to ditch his carefree life – the first time we see him, he’s on a bike trip and enjoying Nature’s sights and sounds – and show interest in his father’s multi-crore business?

For a first half that relies heavily on the slow, TV serial-like sequences, Varisu has little heft to the emotional beats; the mother-son relationship seems superficial, while the brothers’ tussle to take over a multi-crore business seems trivial. Not aiding in the cause is some very average comic relief from Yogi Babu and a love story with Rashmika that seems to be going nowhere. It is only in the second half that Varisu picks up some steam. A character’s decision seems to find some payback, and once Vijay gets into his all-familiar cutesy-fun zone, Varisu becomes a different beast .

There are a few theatrical moments that are bound to hit the mark. Sparking off old Vijay film references in an important business meeting is an idea that Vijay’s fans will celebrate in the cinema halls, as will they, when the star gets dancing to the fast-paced ‘Ranjithame ’ . Those last few seconds, uff.

But, as with most hero films, Varisu too needs Vijay to play the knight in shining armour for every small problem in the house. And thus, we have an unnecessary track on someone getting kidnapped and Vijay saving the day; things that could have been taken off to lessen the 170-minute long runtime. Music composer Thaman gets the dance numbers right, and cinematographer Karthik Palani adds colour to the sequences, but it is Vijay who seems to be having the most fun.

After a long time, it is heartening to see him get back to being humourous and goofy. There are plenty of moments in the second half – especially during his conversations with his brothers and Prakash Raj’s gang – during which Vijay goes back to having fun and being the hero we loved a few decades back, before he became too socially conscious in his roles. Beyond Varisu ’s staid plot and saccharine emotional beats, that’s what stays in your mind in this Vamshi Paidipally directorial.

Varisu is currently running in theatres

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The Mother Movie Review: Lopez’s performance isn’t enough to overshadow this cliché-ridden action thriller

Rating: ( 2 / 5).

Jennifer Lopez has been one of those rare pop stars who has managed to hold her own in film. If there’s one thing that’s been consistent about her acting over the decades, it’s her range. Her body of work speaks volumes for how she views cinematic success. I last saw her in Hustlers , an impressive title she headlined. Lopez invariably commits to her characters, not shying away from venturing into challenging territory. That is perhaps the most admirable thing of all. Unfortunately, all the ability in the world doesn’t mean a thing if you’ve chosen a subpar script. She manages to keep you engaged for some part of The Mother with her own individual performance, but it only goes so far. A bland, done-to-death action thriller narrative, The Mother pulls out every wayside cliché in the book. Barely anything interesting or noteworthy unfolds in its two hours. A montage of disconnected action and combat sequences are splashed across the screen intermittently, more because they have to be there and less because they make complete sense.

Director – Niki Caro

Cast – Jennifer Lopez, Joseph Fiennes, Gael García Bernal, Lucy Paez, Omari Hardwick  

Streaming On – Netflix

A top-level US military markswoman with years of experience in conflict zones is lured to the dark side. The men she gets herself entangled with are in the business of selling to the highest bidder and aren’t quite the forgive-and-forget type (how very original!). Double-cross these chaps and you’re pretty much toast. Lopez’s eponymous lead character has a sudden crisis of conscience when she discovers that the aforementioned illegal arms dealers dabble in the world of human trafficking too. Naïve much? And I pose this question to the writers, first and foremost. But I digress. The ex-veteran (capable of sniping targets from 1,300 metres) goes to the FBI for a tell-all, risk-all session. Here’s where our unsuspecting audience finds out that she is with child. Whose it is, is left to conjecture (“does it matter?” is her stock response). Romantically linked to both of the story’s antagonists, the father is purportedly one of them. While being questioned in a safe house, she lets the FBI know about the consequences that await them. All in the “snitches get stitches, betrayal – bad, loyalty – good” mould. Thanks for that insight, Niki Caro & Co! Spectacular comebacks such as “don’t tell us how to do our job, lady” and “we run this show, not you” (I paraphrase, but you get the gist) flash here and there. And, as luck would have it, there’s an attack on the premises, with all but one agent and The Mother getting out of it alive. The FBI offers her a deal: put the baby up for adoption and disappear. She agrees, reluctantly. William Cruise (Omari Hardwick), the agent whose life she saved during the attack, promises to keep her updated on the progress of the child. She retreats to the Alaskan wilderness and starts life anew.

Through its cliché-ridden, disconnected and below-par storyline, only the parts involving the proverbial mother and her teenage daughter (practically, a stranger) are worth it. The poor writing, notwithstanding, Lopez’s character manages to pull off that most difficult job - of being there to protect her daughter, wrestle with all the maternal guilt, and keep the child at an emotional distance for her own safety - all in a bid to return her to her true, adoptive parents, when the time is right. Lucy Paez’s twelve-year-old Zoe matches Jennifer Lopez frame for frame in all the awkward encounters between the two. Being the kid of an assassin isn’t easy, surely, and most of her questions (including whether she is, in fact, her biological mother) go unanswered. Zoe’s rebelliousness and pent-up resentment of the years are given credence thanks to a realistic performance from young Paez. Take these few sequences away and you’re left with a whole lot of nonsense. Scenes jump without continuity or common sense. Lopez flits in and out of destinations on a whim, far from being detected. We get that she’s trained in military intelligence and whatnot but this is plain ridiculous. No heed is paid to basic logistics. It’s almost like she conjures a place in her head, and the next thing, she’s there – Ohio, Alaska, Cuba, place does not matter. The most disappointing aspect of the film is how the villains are sketched; caricatures with an evil glint in their eye and laughably menacing lines on their lips. When you have actors of the stature of Joseph Fiennes and Gael García Bernal portraying unflattering, campy cliches, it’s just depressing. Also, giving the latter merely two or three scenes is absurd.

Unoriginal and prone to wild exaggeration, The Mother fails on the count of its writing and execution. A good Lopez performance (in a poor script) with worthy contributions from Paez and Hardwick isn’t enough to save the film. Going into it, I was expecting something along the lines of Hanna. But all I got was Lou.

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January 25, 2019

7 favourite on-screen mothers in tamil cinema.

Mommy knows best!

By Ancy Donal

• Ramya Krishnan

The Rajamatha character from Baahubali is an unforgettable role for Ramya Krishnan. She played the mother of  Baahubali and Bhallaladeva which reached the next level. She was full of grace and charm and gave us goosebumps with her fierce performance.

• Saranya Ponvannan

Saranya ventured into Kollywood as an actress and later established herself in supporting characters specializing in mother roles. She played mothers to many leading actors and actress and is said to be one of the best in all. She was awarded the Best Supporting Actress a number of times and is undoubtedly, the queen of mothers.

• Nadhiya Moidu

Nadhiya is always known for her ageless beauty, the ‘Poovae Poochudavaa’ girl has recently turned mother to our heroes. She did a role of a single mother in M Kumaran S/o Mahalakshmi starring Jayam Ravi, which was critically acclaimed by many. Later she focused on such roles and is now seen both in Telugu and Tamil.

• Raadhika Sarathkumar

Radhika is known for her serious and powerful roles as a mother. She began acting in supporting roles since the late ’90s and her performance in Suryavamsam brought her praise and recognition. Her mother roles in Thangamagan, Theri and Naanum Rowdy Dhan were more relatable to the current generation of audience.

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DaDa review: Enjoyable coming-of-age drama about accidental parenthood

Dada movie review: kavin and aparna das-starrer rises above mainstream movies and sends out a strong message on parenthood. directed by ganesh k babu, the film focuses on a young man and his journey of becoming a doting father..

The subject of parenthood, especially in mainstream cinema, has mostly been told from the perspective of a woman. Rarely, we’ve had a film where the story has focused on a man dealing with parenthood and his sacrifices in becoming a good father. Ganesh K Babu’s DaDa is an emotional drama about a young man dealing with becoming a parent, out of the blue, with a lot of maturity. This is also a moving coming-of-age drama of an aimless, college-going youngster thrust into embracing fatherhood when the entire world, including his family, has given up on him.

Watch trailer here:

The film opens with the shot of Kavin and Aparna lying together. Kavin is still sleeping and Aparna just enjoys looking at him while we hear a couple in the neighboring flat arguing early in the morning. Cut to the next shot, Aparna is crying as learns that she’s pregnant and Kavin suggests that she should abort the baby as they aren’t ready to be parents yet. Aparna is against the idea of abortion. Kavin and Aparna decide to move in together and take refuge at a friend’s house. As they get ready to embrace parenthood, living together becomes a hassle as they end fighting over little things. It reaches a point where Kavin blames Aparna for making their lives so miserable when he warned her about keeping the baby. Kavin is forced to raise the baby alone.

The most refreshing aspect of DaDa is that it sends out a very important message loud and clear – parenthood is gender neutral. Both father as well as the mother play key parts in raising a kid and their roles can’t be weighed or compared. As much as the film sheds light on Kavin raising his son alone and in turn becoming a better person as well as a father, it doesn’t try to showcase the mother in poor light. This aspect of the film and the writing is highly appreciable. It also never tries to make the father raising a kid alone a big deal. Even at a crucial juncture in the movie when Kavin and Aparna cross paths again, that moment is treated sensibly. The writing deserves a lot of praise as the film stays away from predictable moments.

As much as DaDa is emotional at times, it’s also thoroughly enjoyable thanks to the use of humour to lighten the mood. The situational comedy works in a big way to keep the entertainment factor ticking throughout the movie. Both Kavin and Aparna are great fit for their respective parts. Kavin comes across a major surprise as he’s someone who’s relatively new but embraces this character with strong understanding and plays it confidently. From the initial helplessness of becoming a father to slowly understanding his role and his responsibility towards his kid, Kavin sells his transformation so competently.

Director: Ganesh K Babu

Cast: Kavin, Aparna Das and K. Bhagyaraj

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7 Kollywood Movies That Revolve Around Mothers

Indian cinema always portrays family sentiments and over the decades there have been many movies that revolve around the one special person in all of our lives, our mothers. So here we have the best ‘Amma’ sentiment movies in Tamil cinema.

Amma Kananku

In  Amma Kanakku , Amala Paul plays the role of Shanti, a widowed single mother who works as a maid to provide her daughter a better life. The mother does so much to make her daughter study and finally succeeded at it. The film portrayed the struggles of the single mom.

The story revolves around a mother-son relationship set in Kodaikanal. Raam (Jiiva) is a mentally affected teenager living dependent on his mother (Saranya) and his whole world revolves around her. She is murdered and Raam is left out clueless. 

Pichaikkaran 

The film revolves around a rich businessman Arul (Vijay Antony) whose mother is unable to recover after she meets with an accident. He learns that his Mother will recover if he turns into a beggar for forty-eight days. The rest of the film revolves around the hardships faced by Arul as he hopes for his mother to recover. 

 36 Vayadhinile  

The film is about Vasanthi (Jyothika) who lives a monotonous life until her friends encourage her to find her younger self. After being left alone at home once her husband and daughter leave for Ireland she sets out on her journey to follow her dreams.

  M.Kumaran S/O Mahalakshmi 

This Jayam Ravi film is about the bond shared by a son and mother. The plot revolves around M.Kumaran (Jayam Ravi) who sets out to make his dying mothers (Nadiya) wish of him reuniting with his estranged father (Prakash raj) come true. 

Kannathil Muthamittal 

The film features R.Madhavan, Simran, Nandita Das, and child actor Keerthana is about an adopted daughter in search of her biological parents. Keerthana gets a brief moment with her biological mother before she reunites with her adopted parents. 

The film is about a family whose life changes after they find their third child that they believed was stillborn. The movie’s approach towards mental illness and stereotypes in society led it to win various national film awards. 

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